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Found 11 results

  1. I have spent a little time looking through some ATARI Assembly Language books for sound routines that I might find useful. I found several examples in ATARI Assembly Language Programmer's Guide by Allan Moose and Marian Lorenz. Chapter 5, appropriately titled "Sound", has 3 programs that I wanted to hear. BOX 31 - Envelope, BOX 32 - Tremolo, and BOX 33 - Vibrato. These are BASIC examples using USR routines. The ml programs were listed in BOX31A, BOX32A, and BOX33A. The first program was typed in and I got that "What the #@%!?" feeling when I typed RUN. It didn't work. As I was checking for my typos that feeling was slowly replaced with a DajaVue. I was back to "What the #@%!?" when I couldn't find a typo. I started feeling nostalgic about half way through trying to follow the ML logic and determining if it matched the DATA statements. Euphoria washed away several hours of frustration as I listened to the sound with an envelope. Now I realized, it is the search for euphoria that is drawing me back to my Atari age of computing. Spoiler Alert- If you too are looking for your euphoria then avoid downloading this ATR. It contains a working version of the BASIC programs with slight modifications and the USR routine source code in MAC/65 format. SOUND Box 31-33a.atr
  2. The Audio Companion board is designed to be a simple way to add high quality sound to Atari consoles and computers lacking a sound output (predominantly the 2600, 5200, 7800, 400). It can also be used in any system as an audio mixer. For example, a stereo Pokey setup can be mixed to a mono output without affecting the separation of the 2 stereo channels. Two boards can be installed to provide multiple different outputs as well. The most common question is, "What makes this better than the audio modifications currently being done?" There are three main advantages: 1. The AC board installs very simply without cutting or removing anything on the board. The AC board gets its power from being soldered across a power decoupling capacitor and its high impedance inputs don't disturb the existing audio circuits. The board can be removed at any time without the need for any repairs. 2. The AC board uses an op-amp to provide a buffered line-level signal. This gives the output a consistent quality when driving various amplifiers and cables. Picking audio off without a buffer can give inconsistent results. 3. The AC board has 4 additive mixing inputs designed to preserve the system's intended audio functions. This means the AC will play 7800 games with cartridge audio intact. The AC will provide the 400 with audio that includes the cassette audio track. Other sources can be mixed in as well if desired. Installation is simple. Find a power supply decoupling capacitor near the audio circuits or power supply input (these caps will usually be 0.1µF and may be marked '104' to denote this value). Determine which side has 5V with a multimeter and solder the board across the cap observing the polarity markings. Run wires from the AC inputs (A-D) to the appropriate signal points for your system and another wire from the output to your audio jack. Then run a ground wire back to the AC board ground pad or a nearby ground point on the system board. There are 4 inputs on the Audio Companion. Using the correct input is important for proper level matching (input iD is marked on the board for reference). A - Input for Pokey or TIA audio. B - Second input for Pokey or TIA audio. C - 7800 cartridge audio input. D - 400 SIO audio input. There is one audio out pad (marked out) that can drive one or two audio jacks. On the back of the board is a gain pad that can be cut to provide a 3dB output boost if desired. Here are pictures of the board and schematic:
  3. Over the summer I picked up a used Lynx II bundle on Game Gavel. It worked great for a few months but the sound has recently stopped working. I've read that this is a common issue for the Lynx II and that either the capacitors or speaker may need replaced. Is this a simple repair? Or should I just get another unit as their relatively inexpensive? Thanks!
  4. I am a bloody beginner with ASM, using WUDSN IDE and MADS to code a little demo. I have an obj-soundfile which was created with "The Soundmachine" from J. Piscol, but have no idea, how to include that in my project and play it back. There is a BASIC-Demo on the Soundmachine disk, but that doesn´t help me due to my limited knowledge. Can´t find any documentation. Any help appreciated.
  5. I've had a Model 1 "High Definition Graphics" VA6 Sega Genesis for a few months now and have been playing it on an almost daily basis, and it's worked great. Up until this past week that is when all of a sudden the music started cutting out for a second or two in games about 25% of the time when a sound effect is played at the same time as the music, and sound effects would often drag on for a second or so longer than they were supposed to and sound distorted. This has happened in every game I've played lately (I've tried half a dozen or so different games) but is rather random, sometimes I'll play a game and it'll sound fine and other times the music will cut out randomly and the sound effects will be drawn out and distorted. I've tried using a regular old mono composite cable for A/V output and I've tried patching the sound through the headphone jack on the front of the system for stereo sound instead, but the audio problems persist regardless of whether the sound is coming out of the mono composite jack on the back of the system or the headphone jack on the front. Does this sound like a capacitor issue that could be remedied by ordering a cap kit and replacing all the capacitors or could there be something else funky going on with my Sega Genesis?
  6. I would like to add some sound effects to my game that are a little more interesting than the usual square wave crash and chime examples from the A/E manual. Do you have any suggestions for tricks or techniques to use to produce other effects or wave forms? I have read about the sample trick used by the Sound FX program, but I have no room for samples, so it has to be programmed and relatively short, but it doesn't have to be limited to a 60 FPS data feed. One idea I have is to rapidly changing the frequency on two generators slightly out of sync to obtain an illusion of phase shifting. I have no idea if that's possible or what that would sound like. Before I start experimenting, are there any limitations to the sound emulation in Classic99 and MESS that I should be aware of?
  7. Since yesterday I suddenly have a very weird issue where all versions of Stella (except 6.0) are becoming mostly completely silent. E.g. in E.T you cannot hear the title music, but some cracking sound when the ship is landing. After some research, it turns out that there seems to be a Stella incompatibility with SDL2 2.0.6 and newer on Windows (10). Reverting to SDL2 2.0.5 (or older) fixes the problem. Now we wonder why this issue did not occur earlier to me and why no one else has reported it. Has anyone ever experienced the same issue?
  8. Hi everyone, I want to ask for help, I am very impressed as Bill Williams (✞RIP) programmed in atari the characteristic sounds of his great game ALLEY CAT (Barking, meowing, dog and cat fight, kisses and complaints) and I want learn how to make them. They are very similar to the ones I've heard on professional synthesizers (Korg Legacy and MINIAK Akai). In advance, I appreciate your guidance very much.
  9. Just a little sound toy. Use analogue joystick(s) to control the V-Theremin. Button 1 = Toggles Mute Button 2 = Toggles between 1 and 2 analog sticks for control. Button 4 (on either stick) allows you to crudely play melodies without moving up and down to control volume. When using 1 joystick : Joy 1 Y Axis = Volume Joy 1 X Axis = Pitch When using 2 joysticks : Joy 1 Y Axis = Volume Joy 2 X Axis = Pitch V-THEREMIN_v101.BIN
  10. Back when I was developing and testing the HDMI interface for my FPGA based Atari 2600, I noticed some minor, and some major differences in sound between the HDMI digital audio and the analog audio. After giving it some thought, I realized what was causing these differences, and I was able to rework my HDMI interface so that the digital audio sounds exactly like the analog audio. For some reason I felt compelled to document my findings, so I sat down and wrote about it. I was going to put it all down in a post here, but I got carried away, and my paper ended up being eleven pages long. So, instead of creating a monster post, I'll just attach a PDF of my write up. I am also including one of the test programs I wrote while investigating the issue. After reading my article, it will make more sense. This program sets up the audio registers to output a 748 Hz pure tone on one channel, and a 10.6 Hz tone on the other. Hold down the GAME SELECT switch to play the 748 Hz tone, and the GAME RESET switch to play the 10.6 Hz tone. Run this program on Stella, and then on a real 2600, and note the difference. TIA Sounding Off in the Digital Domain.pdf tremolo.bin
  11. While improving the sound emulation in Stella, we got some better insight into the TIA's sound generation. One important finding is, that the TIA volume is not linear (by far). E.g. a volume value of 56 is exactly 50% as loud as a value of 15. The higher the volume, the more it gets compressed. While this is good to know if you want to control the volume, this seems like no major problem. But the non-linearity affects both channels combined. This means that the combined volume of both channels is compressed too. E.g. a combined volume value of 10 is exactly 50% as loud as a combined value of 30, a volume of 15 is exactly 2/3 as loud as 30. And then the fun begins. Usually, if you combine e.g. two sinus waves of different frequencies, the resulting wave will look pretty wild. But it will still only contain the two original sinus waves. But doing the same with the TIA will add additional artifacts. This is because the amplitudes of both waves influence each other. If e.g. one wave is a full peak (volume = 15) the other wave at full peak would only add 50% of what it would add if played alone. And if you combine non-sinus waves, the effects are even stronger. The higher the combined volume, the more noticeable this becomes. I yet have to see an analysis (e.g. a Fourier transformation) of the the resulting waves, but I am pretty sure that additional frequencies are added which result from the hefty volume compression. You can clearly hear those as distortions. E.g. Ms. Pac-Man and E.T. sound pretty distorted on real hardware. This is because both games combine both channels at maximum volume value (15). And there the volume compression strikes most. If the volume values are reduced to e.g. 6 (= 50%), the distortions are much reduced. Rule of thumb: When you create sounds and especially music and want to avoid those distortions, reduce the volume. If you want to create unique, distorted effects, use high volumes.
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